Charting Van Gogh Charting Van Gogh (March 18, 2005)

'Vincent in Brixton' buoyed by acting, sunk by script

by Jeanie Forte

icholas Wright's newest play, "Vincent in Brixton," explores a historical what if -- what if Vincent Van Gogh fell in love while he was briefly in London in 1873? And what if that love was not the landlady's young daughter, as historians have speculated, but the landlady herself?

Wright muses on the birth of artistic genius, theorizing that a great artist must experience great love before his/her awakening to creativity; and, charting Van Gogh's path to discovering his artistic passion, contemplates the possibility that his awakening arose from a passionate encounter during his London stay.

An interesting theory -- not without merit -- and one that results in a fascinating, compelling play at TheatreWorks. "Vincent in Brixton" draws the audience into a penetrating psychological portrait of a well-known artistic figure, giving us a glimpse of his complex family life, his troubled psyche and his emerging sense of himself as an artist. There's also a fair amount of humor in Wright's unerring ear for unforced wit. At base, however, it is the story of a life-changing love, between two unlikely partners who have the courage to pursue their passion in spite of social conventions.

The play's action hinges on the second act, a long scene between Vincent (Jacob Blumer) and his landlady, Ursula Loyer (Gloria Biegler). The intimate connection that gradually develops derives not just from common interests and viewpoints, but also from a palpable mutual attraction, one that is superbly acted by Blumer and Biegler. This powerful scene convinces us of Vincent's genius as well as his incipient mental instability; but also gives us a unique presumption of a beautiful love, an image of him that counter-balances the usual picture of a mad artist.

In the first half we also meet Mrs. Loyer's 19-year-old daughter, the lovely Eugenie (Jessa Brie Berkner), whom some biographers have connected with Vincent; but Wright connects her with Sam Plowman (Kai Morrison), another boarder in the Loyer's household who also had artistic aspirations.

These two provide a youthful normality to contrast with Vincent's intensity, and a context for appreciating the burden of genius. Morrison is a joy to watch as Plowman, always spot-on natural and authentic, who conveys volumes with subtle expression. Berkner is suitably precocious and voluptuous, ably drawing an unorthodox character, one who would rebel against convention only to end up constrained by necessity.

The second half of the play still fascinates, but strays into problems. In Act Three Van Gogh's younger sister, Anna (Jennifer Erdmann), arrives to seek a governess position in London; Wright also supposes that she has been commissioned by the family to look after Vincent and see what is drawing him away from his family and duties. Erdmann gives a vital sense of the family that has indelibly influenced Van Gogh, in earnest officiousness and obsessive cleanliness. Yet she obviously loves her brother and cares what path he takes. It's a complex characterization and Erdmann brings her to life with delightful zeal.

The actors are all excellent, especially Blumer as Vincent. Initially his delivery seemed somewhat mannered, but his many-layered performance grew on me until I was completely won over. Blumer conveys a multitude of emotions with naked honesty, creating an insightful portrait of a man who is at once arrogant and vulnerable, eager and reluctant, brave and timid. He manages to make Van Gogh's chameleon moods utterly believable, including the religious rants in Act Four.

Biegler gives a solid, moving performance as Ursula, although there's too much weepiness for my taste. I suspect that's in the script, and that Biegler has better acting chops than she's allowed to explore. Ursula comes across as a much more limited character than Vincent but Biegler gives her a touching humanity.

The one major flaw seems to lie with the script -- despite terrific acting, the climax is oddly flat, almost non-existent. After the key scene of Act Two and the unexpected events of Acts Three and Four, the audience expects a bigger pay-off and instead is given a hole, a void where the climax should be. The actors bravely act through the hole and the final image attempts to make up for it, but the missing link leaves an unfinished feeling.

Moments before, Loyer shifts her focus, in a way that dilutes the character's power -- it's too trite for the character as we've come to know her. She needs to retain her focus on love, and that's what needs to be the transformative device in Vincent's growth as an artist. Instead, the waters are muddied and then left that way. Wright has constructed such wonderful characters and relationships, it's a shame he doesn't make one more revision that would end the play with the same power he creates in Act Two.

The show also benefits from TheatreWorks' superior production values, including a working iron stove and water pump; I could smell the cooking! Kudos to set designer Duke Durfee and team on a spectacular scenic design. The sound design by Cliff Caruthers perfectly meshes with the time and mood of each scene, and Allison Connor's period costumes give us visual clues to character. And the acting is truly impressive in what adds up to an engaging and absorbing piece of historical fiction.

What: TheatreWorks presents Nicholas Wright's "Vincent Van Gogh."

Where: Lucie Stern Theatre, 1305 Middlefield Road in Palo Alto

When: Through April 3. Show times are Tuesdays at 7:30 p.m.(March 22 only), Wednesdays through Fridays at 8 p.m., Saturdays at 8 p.m. (additional 2 p.m. performances March 19 and 26 only), Sundays at 2 and 7 p.m. (2 p.m. only April 3).

Cost: Tickets are $20-$50.

Info: For tickets and information please call (650) 903-6000 or visit www.theatreworks.org.

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